Albert Camus's 'The New Mediterranean Culture': A Text and by Neil Foxlee

By Neil Foxlee

On eight February 1937 the 23-year-old Albert Camus gave an inaugural lecture for a brand new Maison de l. a. tradition, or neighborhood arts centre, in Algiers. Entitled ‘La nouvelle tradition méditerranéenne’ (‘The New Mediterranean Culture’), Camus’s lecture has been interpreted in extensively other ways: whereas a few critics have pushed aside it as an incoherent piece of juvenilia, others see it as key to realizing his destiny improvement as a philosopher, even if because the first expression of his so-called ‘Mediterranean humanism’ or as an early indication of what's visible as his primarily colonial mentality.
These quite a few interpretations are in keeping with studying the textual content of ‘The New Mediterranean Culture’ in one context, no matter if that of Camus’s lifestyles and paintings as an entire, of French discourses at the Mediterranean or of colonial Algeria (and French discourses on that country). against this, this examine argues that Camus’s lecture - and in precept any historic textual content - has to be noticeable in a multiplicity of contexts, discursive and in a different way, if readers are to appreciate accurately what its writer was once doing in writing it. utilizing Camus’s lecture as a case research, the ebook presents a close theoretical and useful justification of this ‘multi-contextualist’ technique.

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Additional info for Albert Camus's 'The New Mediterranean Culture': A Text and its Contexts (Modern French Identities)

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On Camus’s preference for Aeschylus over Euripides, see Chapter 9. e. statues of Apollo] (I, 1004). The works of Aeschylus are the earliest and purest examples of Greek tragedy, while the term ‘Doric’ refers to the earliest and plainest style of Greek architecture and sculpture. 24 The Spanish Civil War had begun in July 1936 with a rebellion by army officers in the Spanish zone of Morocco. Camus supported the Republicans against Franco. 25 As his use of the plural indicates, Camus is not just referring to Islam, if indeed he is referring to Islam at all: see Chapter 9.

On Camus’s preference for Aeschylus over Euripides, see Chapter 9. e. statues of Apollo] (I, 1004). The works of Aeschylus are the earliest and purest examples of Greek tragedy, while the term ‘Doric’ refers to the earliest and plainest style of Greek architecture and sculpture. 24 The Spanish Civil War had begun in July 1936 with a rebellion by army officers in the Spanish zone of Morocco. Camus supported the Republicans against Franco. 25 As his use of the plural indicates, Camus is not just referring to Islam, if indeed he is referring to Islam at all: see Chapter 9.

In an Italian, it is the man, affable and cheerful. Here too, the doctrine seems to have retreated before the region – and it is a miracle of the Mediterranean that it allows men who think humanly to live without oppression in a country with inhuman laws. 19 Camus’s remarks on the early history of Christianity need to be seen in the context of his 1936 postgraduate dissertation ‘Métaphysique chrétienne et néoplatonisme’ (‘Christian Metaphysics and Neo-Platonism’) (I, 999–1081). See Chapter 9.

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